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Famous iirtists

School

STEP-BY-STEP

METHOD

rnTiTO

CORTINA

\MOUS ARTISTS LIBRARY

Harold Von Schmidt VXorkinn xs a >w li jiid aniJ iiuilcskinncr guvc Han jIcJ \bn Schmidi M\ intimate knowledge ol animal->— which he w-a> able to traixslatc into some of the finest and most widely acclaimed pictures of the old West Not only dt>cs his work show complete mastery of drawing and patnting, but it reflects the honesty and authenticity that is synonymous with the name Harold Von Schmidt 1. 1

Learn

ANIMAL DRAWING with the methods of these ARTISTS!

easy-to-follow

FAMOUS Ben Suhl From the time he w< )n an art school scholarship \\ hile Ben Stahl has impressed both the public and his fellow artists with the versatility and power of his draw ings and paintings ^X'ilh his generosity of spirit, he has always been glad to use part of his time teaching and inspiring others in his teens,

Artists School series of books pools the and knowledge of a group of the most celebrated and successful artists in America. The group inludes such artists as Norman Rockwell, Albert Dome, Ben Stahl, Harold Vbn Schmidt, and Dong Kingman. The Famous Artists whose work and methods are demonstrated in this volume are shown at left. The purpose of these books is to teach art to people people who like to draw and paint, and who like you want to develop their talent and experience with exciting and rewarding results.

The Famous rich talents

—

Franklin

McMahon

Oneol

ilaniosi travclcdanisisofour time rjiiklin McMalii 111 has drawn on the site such various acii\ itics as the Kcumenical Council in Rome, children at play I

Bangkok and a crowded airport in Bombay So successful has McMahon been that his unique drawings and paintings are in demand b\ top mag azinrs large corporations, and television He was named Artist of the Year bvthefamcdArtisisGuild in

Contributing Editor Walt Reed

PUBLISHERS NOTE Fred Ludekens Ludekens there are a few good rules u tullow artist: observe, remember, think and draw, draw, draw! As a young student Ludekens To

I'rcd

in

becoming an

>

—

ama/ed

his instructor with a poster design of race horses This was the start of a career filled with a consunt stream of spectacular animal drawings and paintings for top magazines and advertising campaigns.

This new series of art instruction books was conceived as an introduction to the rich and detailed materials available in Famous Artists School Courses. These books, w ith their unique features, could not have been produced without the invaluable contribution of the General Editor, Howell Dodd. The Contributing Editors join me in expressing our deep appreciation for his imagination, his unflagging energy, and his dedication to this project.

Robert

Stevan Dohanos Every picture created by realist Stevan Dohai with a startling, sensitive magic whether it is a magnificent eagle or a lowly chicken, fireplug. or a telephone pole Winner of numerous awards, Dohanos has paintings and prints bearing his signature in the collections of many art museums i.

dowed

—

E.

Livesev, Publisher

How to Draw Animals Famous Artists

School

STEP-BY-STEP

METHOD

Published by Cortina Learning International, Westport, CT 06880.

KK

Distributed to the a

Inc.,

Book Trade by Barnes & Noble Books & Row

Division of Harper

How to DraTV Animals Table of Contents

"four Practice Projects.

. .

how they teach you

Instructor

Overlav

^^

w

Your Practice Project

"f^

Instruction Sections

^"r,'.

'i^s

-—.;^i^='^^^-^-}.A^r,

-^1^'

-6*^:

Instructor Overlays f^^ Practice Projects

>/ 7/yfL

/

St Tracing Paper

^,:^ /=Pr^"^^.-^r

Sheets

->

:.

N

In the side view, sketch the disc shape of

the check and jaw, and a line below the eye showing the check bone. Divide the muzzle in thirds with lower lip and chin in the bottom third and the nostril in the upper third.

The

18

ears have a

wide range of movement.

like a "6") to a

r

^ Practice Project In this

drawing you'll shown on the

nicthtxl

sec

how

the blocking-in

facing page will help

when the horse's head is turned at an angle. Note how the diamond shape of the forehead and the line running along the center of the face from forehead to nose helps IcKate the eyes and nostrils. This is an ideal subject for drawing in either pencil or pen.

19

Hroni Animals in Motion, Eadwtrard Mu\bridgc. Councsy of American Museum of Natural History.

Gesture

. . .

the spirit of the action

a challenge to try to catch an animal in motion, but probably not as hard as you think. On these pages we've demonstrated approaches to action drawing that should make it easier for you. The best way to get into the rhythm of this kind of drawing is to watch an animal, or a number of them, repeating the same action over and over. All of these drawings were made at a horse show where the artist stood and sketched as fast as he could as the horses took the jump, one after another. Horse shows are madeto-order spectacles for action drawing; so are rodeos and circuses and county fairs. And so are the Westerns It's

you watch on

TV

horse show, just like the artist who did these gesture sketches. You're standing horse is going over. Start your pencil moving over the paper to catch the gesture, trying to get the feel of the whole jump. "Vbu'll probably draw just a line or two the first time, but keep trying with the next jump and the next. After a while your pencil will follow the whole sweep of the action and your drawings will express it as freely and accurately as many of the examples on these pages. Lets say that

you are

near a jump and the

at a

first

20

on the move. Tr>' to quick sketch like this As the horse moves. tiA to record that whole pose, too Your sketchbt)ok will be quickly filled w ith many of Even

get

a

gni7ing horse

down

the

is

constantly

whole pose

in a

these variations that will represent

movements: valuable reference

its

characteiistic

for later use.

With

few quick lines, you can capture the direcand shape of the horse. Each time an animal clears the jump you can add more information to your drawing. just a

tion of the action

21

Thy these three exercises 1, Stop

drawing and

Just look! Before ynm start drawing. S{xnd a tew moments just ()bscr\ ing the sequence of action and deciding what \()u are going to draw. And, it you have problems as you go along, put your pencil down for a while and mentally draw the action as you ob-

serve

it.

Blind drawing,

sometimes a change in approach is you don't seem to be able to make your pencil do what you want it to do, try blind drawing. Keep your eyes on the moving animal and, without looking at the paper, let your pencil feel out what you see. Your first attempts may be awful, but this is a good way to learn to coordinate your eye and hand. helpful. If

22

Draw one part at a time, a good way to team to

draw a moving animal in more detail is

one

part of him at a time.

ing near that forequarters

Assuming

to focus

that you're

still

on

stand-

jump at the horse show, start with the horse's and keep your eyes on just that part of his

body. As one horse follows another over the jump, record what you see happening just to the forequarters. Work over and over the same sketch, keeping it loose and free. This isn't easy to do you can see some false starts in the drawing at right, and you're bound to have some, too. But you'll develop the lines with more confidence as you adjust the bend of the neck, the position of the head, the stance of the legs as they hit the ground. Then move on to the midsection and the hindquarters and develop your drawing of them in the same way.

—

—

Practice Project, gesture drauHngs 23.

these pages with sketches, using pencil or pen, and then

Fill

make other

sketches

^^ 7^

24

on

separate sheets.

When you 've finished, turn to the overlay, pages 97 and 98, to see how a Famous Artists School Instructor interpreted these actions. 25

Section 3

bear stands and moves much like a man. Notice here the forward thrust of head and the action of very'

"arms."

Man and Bc^iSt—different yet alike In outward appearance man seems profoundly different from the animal, but when we begin to compare them carefully, we see they have much in common. In structure and movement, in behavior and feeling, the human being continually reminds us of the animal. This resemblance between man and the animals can be a great help to you in drawing and painting ani-

mal

subjects.

Puma and man also have much in common. Notice particularly the shoulder area and the bone and muscle structure showing in the limbs of both.

26

Man is the key to understanding animal structure Our first step The

in learning to

draw animals is

to see

how

they compare

v\

ith

man

in physical stnjcture.

parallels are asti)nishing.

Although most ;mimals stand on all fours, their bone structure is much like man's. Like him they have backbone, pehic bone, and legs. Their front legs correspond to his arms. Even the muscles throughout the animal's bod\' resemble those of the human figure.

a skull,

lb make another comparison clearer, we show the man balanced on his fingers and toes, the way nn)st animals would stand U)ok at the joint labeled "wrist"

on the

front leg of the horse

I

from this joint to the hoof corresponds to the human hand and fingers The bones in this area are fused together and the hoof is actually a large "fingernail." Similarly in the rear leg, the section from the "ankle" to the hoof corresponds to the human foot. The resemblances in such areas as the upper arms and upper legs are harder to find because animals have their upper limbs encased in muscles that hold them close to the bodv.

'

— across back

swings free from bod\

joint

Upper

leg

close to

Upper arm short moves close to bodv

Shoulder blade small

Upper arm long

Hip

Shoulder

\

The portion

bodv

—

Forearm

Wrist

Knuckle

Fingernail

For comparison with human anatomy, we use terms like "forearm." "wrist," "ankle." etc., rather than terms of animal anatomy. The dotted lines in the diagrams will help you see where they are, and so will the skeleton diagrams on the next pages.

Skeleton. .proportions .

On thefolUni ing pages we are going to take a close look

four uninul.N— the horse, dog, cat, and cow — and see how they compare in basic structure to the human figure. We use these animals because each is representative at

of many similar types. For example, with slight differences in proportions and size, a cat is similar to a tiger, lion, puma, leopard, jaguar, or bobcat. Such animals as

and giraffe are built much like the horse. and fox are also alike, and so are the cow, bison and water buffalo. By learning these basic animal types, you vsill gain an understanding that you can apply in drawing virtually any animal. Here you see four basic animals and man. To make them easier to compare, we show them within identical squares. the zebra, deer,

The dog,

wolf,

Horse:

The body of the average hon»e fits inside and tail projecting beyond. Compare the bones with those of the man and a square, with the head, neck,

the other animals here.

CotV: Compared to the horse,

Mcin: The human body is much shorter in propor-

is

tion to

the body of the cow longer in proportion to its legs, and its backbone is quite straight. Notice how the cow's body projects outside the square.

its

arms and

legs.

those of the four animals

Compare the bones with shown here

Dog:

Cat: The cat's body is much longer in relation to its

similar to those of the horse.

legs; its rib

The proportions of the average dog are quite The back legs are normally bent a bit more and the upper bones of the legs

small and upers toward the front; long and flexible. Note the typical "crouched" position of the back legs.

its

are relatively longer than in the horse.

28

cage

backbone

is

is

Structure compared A good way

to understand the anatomy and structure of the various animal groupings is to begin with one which is the horse. familiar to all of us .

.

.

In upright position

how

you can see

similar in skeleton the horse

to the human figure. Look for these similarities and study the

is

differences, which are mostly proponional. Because the horse walks on its finger and toe tips, its

The

human

heels and wrists are elongated.

The

skeleton

is

greatest difference, however,

in the lack

of a collarbone as

diagrammed below.

Shoulder blade

Here you see the difference betwen the shoulder region of a man and an animal. A man's rib cage is wide from side to side, and his shoulder blades are across the back of the rib cage. These connect at the shoulder with the cur\'ed collarbones, which reach around to the breastbone in front. The typical animal has no collarbone. Its rib cage is narrow from side to side, and its shoulder blades are placed along the sides of the upper rib cage.

Animal 29

Shoulder blade

Collarbone

Man

Top of head These lengths about equal

High point of

rump

Side view: This hofNc \s placed iriMdc u square to make the measurements clear Note that the front Ime of the head is parallel, roughly, to the front of the shoulder blade, which is at about the same slant and "" on as a line through the 1

a clock.

Proportions of the horse drawing the horse, it is helpful to have a few standard measuring points to check from. Here we give you the basic measurements for an "average" In

and You can

horse. Most of the horses in your drawings

paintings will have proportioas like

this.

make the necessary' changes for other horses such as the heavily proportioned draft horse or the Arabian, which has a shorter backbone. Naturally when the horse is turned to other positions or is in action, you will have to estimate the measurements and the foreshortening. easily

Shoulder blade

Front Qf pelvis

Body 2'/!

is

about

head

lengths high

Front view

You can use the length of the head to check the measurements shown here (arrowed lines equal one head length).

lines

The heavy emphasize the charac-

teristic

blades.

30

:

slope of the shoulder

Back

view-. Here you can

see the squarish shape of the shoulder blades.

Withers

Hip joint

Heel

(Horsemen call

it

hock)

The Horse... Muscles that show on the surface Right on the surface of the horse you can see the hardness of the bone and the bulge of the muscle underneath. Before you can draw these forms, however, you must recognize them. In the top row you see the actustructure of the muscles, and in the second row how they appear on the surface. As you study this page, turn back to page 28 so you can see the position of the bones in relation to the muscles. Draw the muscles only as they actually appear on the surface. Your goal is not to create an illustration for an anatomy text, but a good, lifelike picture.' al

31

The bony framework of spine, shoulder blades, and hipbones is very prominent when we view the horse from above.

As you draw, ihink of these shapes as solid

and three-dimensional. n(«

The Horse. We can reduce

the

basic forms just as

. .

as flat outlines.

basic forms

body of the horse

we did with

to a

few simple,

the horse's head

on pages

and 17. By learning to use these basic forms, you will be able to draw a horse in any position. As you study these pages, review also pages 28, 29, 30 and 31 to see how the inner structure of bone and muscle determines the shapes you see on the surface. There is no need to draw the skeleton and all the muscles, but you should be aware of them and how their movement beneath the surface causes the bulges and hollows you 16

actually see.

learn to draw the average horse. Then you can the changes in proportion that are necessary to

First,

make

depict various types.

Study these diagrams carefully and learn to draw these basic forms from all angles. Remember to draw through so that they fit

together properly.

VicvNcd from the front, the "wedge" form of the shoulder blade slopes down and out, creating a rather triangular shape.

After you have studied this section, you will be able to observe and understand animals much better, whether you are sketching them from life or from photos. You will not have to find the exact position to copy, but will be able to visualize and construct animals in different positions.

Viewed from the rear, the "saddle" shape of the hindquarters is somewhat squarish, and about the same width at top and bottom.

33

Practice Project... basic Jot^n drawings Making a

gesture sketch

is

a

good

wa\' to

Stan drawing an animal. For this Practice Project,

you

are to build

up the basic forms of method shown on the You ma\' draw directly

these horses, using the

previous two pages. over these gesture sketches or use the tracing paper method show n on page 96. If you prefer, you can make your own sketches off to one side or on a separate piece of paper Don't make finished drawings just basic

—

forms. VC'hen you've finished, tear out the over-

pages 99 and 100, so you c^n compare your work with that of an Instructor. lays,

34

^

35

> --s:^-

Section 4

How to draw the horse

. . .

step by step

lot of information about horses. We are going to apknowledge to a step-b\-stcp procedure which \ou can use to draw horses in any p)Osition, whether from life or from photos. Gesture drawings you have made will provide an excellent beginning. You may find it helpful to develop thc-se successive steps using the tracing paper methcxl described on page 96. Here let us assume that you have chosen a side view of a simple walking position.

By now you hare acquired quite a ply that

1. Sketch lightly a line running along the top of the neck and body, and indicate the bottom of the barrel-shaped body. Then, keeping the skeleton structure in mind, indicate the position of the legs and shoulder blades, and the long tapering head.

J. When you have

finished blocking in the "basic form" horse,

start indicating

the realistic shapes caused by the muscles

2. Using the basic shapes previously shown, start building solid forms. Draw through to make them fit together properly. Use the proportional checks shown on page 30 to be sure that the parts of the body are the right size in relation to each other

Finish by erasing unwanted construction lines and putting in modeling. As you model, think of the bones and muscles beneath. Notice particularly the places where the bone is near the surface, such as the shoulder and the leg joints.

and bones. (See muscle diagram on page 31 ) As you do this, emphasize the rhythmic flow of action throughout the body. Draw the head as shown on page 17.

36

In sketching the front and rear views of the running horse, it is important to draw through carefully to solve the problems of overlapping forms and foreshortened parts of the body, legs and neck. Just as in the demonstration above, you should first establish the general position and action and then draw the forms. It is often a helpful practice to use a photo as a basis for the horse's pose. To analyze the action, place a piece of tracing paper over it. Then, observing the photo beneath, you can superimpose a basic form drawing to capture the pose.

The colt has legs to spread

them

ture horse (right) stands out when

—

its body it has order to reach the ground. In contrast, the macan reach the ground easily. Note how the jaw the horse stretches its neck.

that are quite long in relation to

in

37

How the horse moves There

beautiful form

is

and rhythm

movement of the horse. To derstand this mcnement and draw in the

horse

unthe

con\incing action, you must

in

know how the upper legs and the shoulder blades move. The diagrams here

il-

keep in mind that the horse's legs swing from pivot points high up on its b(xl\: The front legs swing from the top of the shoulder blades up near the withers, and the back legs swing from the hip jt>int near the top of the hindquarters. lustrate this. Alwa\'s

Study

this p>osition carefully

and you

will see that the near shoulder has swung forward and the elbow forward and

Hip

joint

down. The back legs have swung forward from the hip joints, also.

Shoulder

Upper arm

To

illustrate dramatically the pivot points from which the

drawn an imaginary pole through these points of support. Observe legs swing, we've

how

freely the legs

shoulder blades can these points.

and the

move from

In violent

not stay

aaions

rigid.

like this the basic

forms do

The wedge-shaped shoulder

area

moves in two separate parts, and even the saddleshaped hindquarters twist as the legs move alter nately forward and back.

In these pages logical

we

give you a

method of drawing

ani-

mals, but nothing can take the place of careful observation. Draw from living animals

whenever possible. Build up a good collection of photos or pictures you clip from magazines to use as reference, and study the action of animals you see on your TV screen.

38

Just as a

move

man

's

right leg

forw-ard at the

sure balance, so

do

and left arm

same time

to in-

the legs of a horse

in w"alking.

When a horse is moving for-

ward with

his forefoot

during a stride he raises his forequarters and drops his head slightly. When he reaches forward with his rear feet, the in the gallop,

hindquarters are liigher than the foreand to maintain balance, the

quarters

head

is

slightly raised.

In this view, the animal's shoulder and elbow on the near side have swung back, while the shoulder and elbow of the far side have swung forward. The entire hindquarters have swung up and back.

Upf>er leg

ir^J^^ This anal>'sis of the illustration above shows how the legs swing from pivot points in this position. The movements of these bones are disguised to some extent by the mass of muscles and outer flesh covering them.

the positions of the basic forms in this view with those at the left and see how they change. These forms not only suggest the movements of the animal's hidden bones and muscles, but can easily be developed into a finished drawing.

Compare

^^

39

77be

horse in motion—compared to other animals

Mm To show the

gait

sequence

clearly,

the legs touching the ground are darkened.

^/

\

ri ^

v>

-

>J.y

I

J

pj\ The backbone bends

how

to allow the rear legs to

move

forward.

changes the outline of the top of the hindquarters. Observe, too, how the shoulder area moves forward and back with the front legs. Notice

'

this

40

t

When a

horse walks,

trots,

or runs,

its

called gaits. Most of these gaits are the

pages

we show you

feet

touch the ground

same

for

all

in definite

sequences. These mcnements are some exceptioas. On these two

animals, but there are

explain the differences where they cxrcur. walk, trot, and rack— all of the animals touch the ground with their feet in similar sequences. The gallop, however, varies with different animals. There are two different gallops, the diagonal and the rotary shown on pages 42 and 43. the

In the gaits pictured

b;Lsic gaits :ind

on

this

page— the

Walk: In this action there arc always two or three feet on the ground at the same time. If you will compare the movement of the front and hack legs, you will see that the front leg moves forward and touches the ground just a moment after the back leg on the same

side.

Thot: In the trot, the animal lifts and moves the diagonal feet the same time. Note the way the right rear and left front feet move forward or back at the same time, and the left near and right front move together Twice during each full stride all four feet are off the ground. These positions arc marked with a star The at

distance the feet are lifted from the ground varies. Sometimes they are merely dragged, while at others they are proudly lifted high. Just remember the simple rule contact with the ground is made with the two diagonal feet.

—

Pace or rack:

in this

and

right side

rear legs

on the

movement the front move forward at

the same time. Similarly, the front and rear legs on the left side move at the same time. This gait is natural to the camel and the giraffe. The horse

has to be trained to pace for harness racing.

As the

horse's legs

and the shoulders

Body movement:

Although the horses body is a solid mass, it is not rigid. These diagrams show some important places to watch for movement.

move, there is a slight twist in the backbone forward and back. The hindquarters al-

slide

so twist.

As the horse shifts its weight from one leg to the other, its hips and shoulders move up and down accordingly just as in the

41

human

figure.

The gallop and leap The diagonal gallop is a "cross "gallop. When the action starts with the left the ground would be the right rear, then the left front, and finally the right start with the right rear foot. The sequence then would be riglit rear, left rear, There is a point in this gait when all the legs are under the body at one time,

rear foot, the next foot striking front.

The movement can

also

and then left front. and none of them is in contact hog, camel, and many other animals. right front,

with the ground. The diagonal gallop is used by the horse, cow, goat, The rotary gallop is a "round gallop. The simplest explanation of this kind of gallop is that the successive feet striking the ground go either clockwise or counterclockwise. For example, if the animal starts with the right rear foot touching the ground, it would then put down the left rear left front, and right front in succession. The rotary gallop is used by the dog, deer, antelope, elk, and a few other animals. As an animal gallops, the legs are alternately stretched out and tucked under the body There is also a typical rocking motion. At the time the two forefeet are in contact with the ground, the rear of the body is higher than the front, giving the body an overall forward slant. At the moment the body is being thrust forw^ard from the hind feet, the opposite slant occurs. '

,J^^

Diagonul gallop: the

left

front

and

last,

Here the gallop starts with the left rear foot. The next foot to touch is the right rear, then across to the right front as shown by the darkened legs. The diagram below also illustrates this sequence.

3

/

Left rear

Left front

Direction of

movement

4

2

Right rear

RotUry gallop: The order

is:

left rear

Right front

in the gallop

shown here

— right rear— right front —

the legs

move counterclockwise. The legs can also move

left front.

clockwise. Left rear

/

^

4

Left front

Direction of

movement

Right rear

2

-

3

'

Right front

42

Galloping—front and rear views: These drawings of galloping actions seen from the front

and

show positions useful for the artist. Note how the head moves up and down with the different leg positions. When the legs are drawn together under the body, the head is high— when they are extended, it is low. (The posirear

tions are not in sequence.)

TTje leap: There is no hard and fast rule for the leap except that the thrust is given by the rear legs, and one of these legs gives more thrust than the other. Sometimes the forefoot diagonally opposite the lagging rear foot strikes the ground first, and sometimes the other forefoot does. At the start and during the leap the forefeet are held well up near the body.

\

43

Practice Project In action or at rest, [he horse is always a pleu-surc— and a challenge to draw! These pages give \ou a chance to do finished drav\ings using all you've learned. After studying the gesture and basic form sketches

—

you understand the action, make drawings of these horses (with or without the riders). When you've finished, tear out the Instructor Overlay pages 101 and 102, and study the helpful suggestions. to help

44

45

Section 5 You can easily see face of

The Dog... muscles that shotv on the surface

its

this dog's muscle structure on the surbody. Study the top and bottom rows of drawings

below and note how certain muscle forms show through the skin. Check these drawings with the skeleton structure on page 28. As you do this, notice how clearh' the rib cage shows on the surface and how, in the view from above, the forms caused by the shoulder blades stand out. These are especially important points to look for

short-haired

dog

like this.

46 y^

when drawing

a

. . .

basic forms

The dog is so much smaller than the horse it seems a very different animal, but what you have learned about the one will help you greatly in drawing the other In basic structure the two are much alike, the main difference being in the proportion of the leg bones and the structure of the feet. Look at the diagrams on page 28 and you will quickly see this. Above, we have taken an "average" dog and reduced it to its basic forms. Notice that the "saddle" shape representing the hindquarters is a little longer and thinner than in the horse. This is because the dog's "knee" is well below that

the body.

V and types of long legs, some have short. Some have long, pointed noses; others, like the bulldog, have almost flat ones. The basic structure is the same, however In some dogs this structure is easy to see, in others less so. In a collie, for example, much of the form is hidden by the long hair But you must understand this solid form to draw the dog properly, or it will look like a shapeless ball of fur Always analyze the structure before you draw. Of course

dogs.

there are all kinds

Some have

—

—

How to Draw the

Dog

...step

by step

1 . Working

freely, lightly suggest the general size and position of the dog. Indicate the action of leg bones

and shoulder blades.

2 Now block in the basic forms. .

pans

J

.

fit

Side view ear hanging

to be sure that the

Keeping in mind the bone and muscle structure beneath, add surface detail, but do not lose the large, solid form.

The Ear

Side view ear straight up

Draw through

together correctly

Front view

down

48

Drawing the dog's head The dog

is

Its face shows every emotion clearly, and its body gesmakes the dog an ideal "ham actor, and a useful character in

one of the most expressive of animals.

ture or attitude emphasizes the

emotion

This

"

man\- pictures.

There

is

breeds, but

no special problem in simplifying the dog's head to its basic forms. These forms vary with different once you have learned to draw the genend shape you can easily make the necessary adjustments.

Main pan of head

is

a cube.

Ears are lon^ "leaf" shapes.

Muzzle

is

a

triangular form.

Sketch the two main portions of the head. (Note the "step down" in front of the eye.) Show the neck at a slant as

One-third from the back of the skull to the eye locates the back of the jawbone.

Add deuils, but don't lose the solid forms.

The

around

ear

fits

on

just

behind

this.

Show

the eye and eye socket curving in front of the cranium.

shown.

Block in the two basic forms. Here we are looking slightly down on the head, so we can see the top planes.

Indicate the nostrils and mouth inside the front triangular shape. Notice how

the lips slant

down and

49

out.

Add

texture and deuils. Eye sockets are indicated by the suggestion of the bones of the forehead and cheek.

Gaits of the dog

Walk:

Nuttr that the tront leg

touches the ground

just a little after the

Walk

Walk—front view

T^Ot:

corresponding back leg does.

Just as with the horse, the dogs right front leg at the same time as its right rear.

moves forward

at

— rear view

the

same time

as

its left

rear leg.

and

its left

front leg

moves

forward

Gallop: The dog uses

the rotary gallop as described

the body, and in other positions

Gallop

all

on page

42. Here you can see

how

in

some

four feet are extended.

— rear view

Gallop—front view

50

positions

all

four feet are beneath

With the basic forms you can draw any type of dog

— in any position.

The same forms but

different

proportions and you have a

dachshund.

Sketch the basic forms first to get conthen draw the struction and action surface shapes, hair, etc.

—

Unusual positions are easily

drawn with the

basic forms.

How to use the basicforms

The

leg bones of the dog have a zigzag direction. Notice particularly the extended rear legs of the running dog and the folded-up rear legs of

the sitting dog.

Drawfrom life— every chance you get Dogs are usually readily available to sketch from. Make it a habit to study and sketcli their actions. As you do so, think of the positions of the shoulder blades, leg bones, rib cage, etc. Don't merely draw a cold, mechanically constructed animal, however. Try for the spirit of the action. Notice the strong feeling of life and animal personality in these drawings by Harold Von Schmidt.

Practice Project

52

Before draiiing these clogs, carcfulK' review pages 4O through 51. VCi- are sure this study will give you a new appreciation of the structure and personality of this wonderful animal. As you draw, keep in mind the positions of the shoulder blades and leg bones, as diagrammed on page SI. Remcne page 103, to compare your drawings with those on the Instructor Overlay.

i 53

'

Section

6

The Cat muscles beneath the skin

These drawings show y' a big cat. Therefore, to start, we will set up four basic groups, one for each of our four basic animals, and place in each group the animals most like the basic one. This grouping is not scientific, but it will show you how to analyze the physical appearance and action of an animal to use what you know of the basic animal to draw others that are like it. What we show you here is the key to understanding the animals so you can draw them convincingly, even in positions that are not pictured in

—

your reference photographs. When you study an animal, take particular note of the profile line of its body and of its head. This will help you to get down the animal's characteristic shape quickly Here we show these lines in color. The features we point out are the type of detail you must train yourself to look for. One further point: when you draw an animal, don't concentrate merely on its outward appearance. Try to understand its structure and its personality, too why it moves and behaves the way it does. This approach will help you not only to draw the animal accurately, but to capture its character and spirit as a unique liv-

—

ing thing.

The

cat's

body

profile line

is

long and

flexible.

Cat group Animals

in this

group are the

real hunters

of the animal kingdom.

They are equipped with knifelike teeth and powerful front legs, and armed with sharp claws which they can extend or draw in at will. Stealth, surprise attack and, except for the lion, concealment are their native habits. With long, flexible bodies, no wider at any point than the head, they pass through any opening the head can enter. There are many small animals such as the otter, weasel, and skunk that are not really cats but are similar in structure, and your knowledge of cats will help you draw them.

Long, flexible

body and

Typical cat

shoulder action

tail

Profile line of

face curves

PuntCl: The puma or mountain lion is a big, agile A typical hunter, it stalks its prey, then springs into

cat.

action, attacking with

its

powerful forelegs and teeth.

72

down

rapcriiin

head

Large bushy

tail

Weasel: resemhles Short tapering head

Short legs

This

a cat in

animal

small the

way

it

is

huilt

and moves Note how flexible its slender body is how the back arches up and the body twists around.

—

Skunk:

Note the curved back and tapering muzzle. Not every skunk has stripes, but showing them in your drawing helps to identify the animal.

Lion: The

"king of beasts does not crouch so much nor is it so secretive in its ways as other cats. A slap from its forepaw will break a zebra's neck. The mane is present only in adult males. "

Dark stripes form dramatic pattern

Long

ears

tufted at tip

Older male has ruff at sides of

Ruff

Tiger:

This big cat of Asia is relike the domestic cat in its structure and movement. This view

at

markably

sides

of head

shows

a typical fluid, catlike stalking

action.

LynX: is

head

This cat, with its short body and long rear legs, than most others. Its large feet are useful

less graceful

73

Straight slants

neck

upward

Graceful antlers

Fate profile straight

Slightly

dish-faced

Rump drops

down Holds neck almost

Tail

straight

down

up

except in night

Horse group Grazing animals with long this

group

legs,

the creatures in

are built to travel great distances in

search of food. Their heads are long and equipped with teeth that can grind foliage, grass, and grain.

Cloven hoofs

Note how much alike these animals are in shoulder and hip construction. Their legs are thin, bony, and jointed like those of the horse.

Deer: This typical pose tells us much about the nature of the deer The animal holds its head high, alert for danger, its strong rear legs ready to propel it into instant flight. Usually only the male has horns, which it sheds and renews each year The species shown is the Virginia or white-tailed deer

Horns covered with skin

and

hair

Giraffe: with

its

long neck and legs and

its

short body, the giraffe is a real caricature in proportions. It looks awkward when running but has a very fast gallop. It paces like a camel.

Large ears,

Body is

horns curved back

profile

steep

and

Straight face,

head tapers to small muzzle

slanted

'\

Tail sticks

Two

out

toes,

Goat: This animal is much like the horse in shape, except for the heavy

sharp hoofs

rear half.

74

Face curves

down

Hump

to

large lips

gives

iinic|uc

bd\ profile

Rump lower than withers

Broad, two-toed

padded

Camel:

legs and broad, padded feet, the camel is built has a haughty, superior look. The animal shown here is the Arabian camel, which has one hump. The Bactrian camel has two humps and

with long knobby

for desert travel.

Face cunes

down

feet

is

It

heavier.

to large

nose and

lips

Large, flattened

antlers ith

High,

humped

give sloping

edged

points

Sheep: There are many breeds of sheep, some with horns, some without. Often the animal is so clothed in wool that only the face and sticklike lower legs show.

shoulders

body

profile

Small Straight

back

ears

line

Stumpl tail

Tail

Moose:

Largest of the deer family, the moose has clumsy-looking proportions. Notice its short body and large head. Its neck is so short, the animal must kneel to eat grass.

75

dow

A^^'-Hlf/H

Dog group

Neck up

Animals like the uolf. fox, hyena, and coyote sht)w a marked resemblance to the dojj All are meat eaters and follow their prey through their keen sense of smell Their long legs and good lung capacity meet the two prime demands of the chase —speed and endurance Ihey strike with teeth and strong jaws, their forepaws having almost no part in making the kill As we have mentioned before, different types of dogs vary considerably We are again using the average" dog here as standard for comparison.

slant!)

Back

Step-down

fairl

at

brow

a

Head and neck, carried low, body profile line

give flatter

Lt)ng face,

shaip muzzle

Tail

down

Wolf: A

large, wild,

doglike animal, the wolf has coarse

bushy tail, and erect, pointed lower than the dog does.

ears.

It

carries

its

fur,

a

head and neck

Low hindquarters

Sloping profile line

Lung bushy

tail

Ix)ng thick

neck

FoX:

This sly. clever fellow looks much like a longhaired dog. The fox is smaller than the wolf and has triangular ears that remind us of the cat's.

Hyeft€l: This repulsive creature is not actually kin to a dog but resembles it in basic structure. A notable difference is in the short rear legs, which give the animal its unusual body profile. Its coat is rough.

76

Body and neck form fairly straight line

Slightly

Cow group

dish- faced

Like the horse group, these animals are grazers. Physically, there is much resemhlance. too The main difference is in the shorter le^s and heavier bt)dies. which give the animals less mobility

Tossing

muscle

Face generally straighter

Zehtl: The Brahma

bull has a large

hump

above

the shoulders.

Bull: Seemingly built for attack, the bull has massive shoulder and neck muscles. Notice how bulky the bull is toward the front— while the cow, with the rear

Straight

its

deep belly,

is

bulky toward

back Big head

with large ridged horns

Horns The

variety of horns in this

group and the sheep and goats

is

bull but

animal in Asia, is quite similar in structure to the cow and is bigger Its large head seems weighed down by its

Some horns are curving, others are twisted, spiral, or straight. Here we see the magnificent spiral horns of the Rocky Mountain bighorn sheep contrasted with the musk

big horns.

ox's broad-based

Water buffalo: This powerfully built ox, used as a draft

almost

77

limitless.

horns which curve

down

along

its

jaws.

Rhinoceros:

Although different

portions, the rhino in

most of

its

is

in

pro-

similar to the elephant

basic forms

legs seem quite and gallops much

Its

stubby, but the animal trots like a horse.

Elephant: To block

in the elephant, use the baanimal forms for the body, hips, and shoulders add the "stove pipe" legs and egg-shaped head with trunk and tusks. You will need photos for the details and texture of the loose hide.

sic

—

Don't Let Hide nor Hair Fool \bu! Although

many of these animals would be difficult to fit into

our four groups,

all arc basically similar to them in their bone and muscle framework. Your knowledge of the four basic animal groups will help you draw the animals, even though some are covered with heavy hide, like the hippo and rhino, or with

quills, like

the porcupine, or with long

Whenever you draw an

side appearance, pay attention to the

and

hair, like

the llama.

animal, besides considering

way

its

out-

the shoulder blades

bones work. (We have indicated these with colored the diagrams.) This action, which is much the same for all animals, controls their movement and must be understood if your drawing is to have a sense of life and carry real conviction. See how basic forms similar to those used for the horse, cow, dog, and cat are used here to block in even the alligator and sea lion! leg

lines

on

Alligator: am

of the basic forms are lengthened in the alligator, except the short legs. Notice how clearly we see the shoulder, elbow, wrist, and knee joints and the webbed fingers and toes.

^

t^ 78

^^/.\

Llama:

Under

long hair, the horse and camel in basic structure. It has padded, two-toed feet like the camel. llama

is

much

its

like the

You will be most likely to encounter these more exotic or unusual animals through photographs. In cases where photography is your only reference, study the structure

and action of the animal by means of an analytical An easy way to do this is through the

basic form figure.

use of tracing paper laid over the photograph. For a description of this tracing paper method, see

page 96.

Porcupine:

The

basic

forms will help you draw even the strange-looking porcupine. Use them to establish the correct leg action

under the mass of

Sea lion: a close look shows that the sea lion, like other seals and walruses, has much the same basic structure as the land animals, although its "hands" and "feet" are

quills.

- in size, the comparative size of each species remains consunt. When drawing a man alongside a horse, don't make him a giant or a

pygmy — unless he

Draw

the rider so that he rests on the saddle, not in the "Draw through" the horse's back and saddle to get the placement right. horse.

Wrong: The tail is not just a clump of hairs merely "tacked on."

Right: The tail is actually a continuation of the spine and flows smoothly from

it.

80

is

one.

Wrong:

Right:

Hip joint

four-leggcd animals, the leg starts at the hip joint and shoulder blade, where the body is supported. An animal's legs do not stop at the bottom of its bodyIn

all

motion

like

The cat's body to

its

supports under a barrel.

quite long in comparison body of the average dog, it does not fit into a square. is

height. Unlike the

horse and

Wrong: Don't draw the cat's

Right: The cat's body is long

back too short and straight. This makes the animal look more like a dog than a cat.

(see

diagram above) and its back arches decidedly in a seated position such as this one.

Drawings from a Master Artist's Sketchbook "Knowledge ofform, anatomy, motion and your own obattitudes, character and rh>'thm should give you a good start for animal drawing. No one can make the drawing for you. can only point out to you fundamentals of construction and the method of procedure. You must make the senation of

I

drawing!

"These two pages show a variety of animals in many posiand acticjns for your observation and study These drawings were made with the kind of knowledge discussed in this lesson plus observ-ation. You can do as well by studying and analyzing and by obser\'ing and remembering. Make hundreds of drawings like these." tions

—

5CHHIor

Study the construction of animals. Make sketches of details and character and notes on proportion. Then draw them solidly as we have shown you here.

When making a finished drawing from a sketch, study the

bone and muscle charts and build the bones and muscles into the form in the position vou wish to draw it

After study and observation

draw by drawing.

83

— you learn how to

.

Harold Von Schmidt tommunicatcs dramatic

icnsioni in this painting of cowboNs cattle before an approaching

rounding up storm

A dark, looming mass of awesome strength is how this Alaskan brown bear is

— that

pictured by the

artist,

Fred Ludekcns.

Animal pictures.

.

Pictures of animals can stir many of the same emotions in us that pictures of people do. Often the impact of the animal is even stronger. From the childhcx)d moment when we are first amused by a kitten's high spirited attack on a ball of yarn, or awed by the towering gra\' bulk of an elephant at the zoo, animals take on a deep, inner meaning for us. They become almost like symbols, strongly charged with the electricity of the emotions.

As

splendid bull elk bugles his ringing we sense his readiness to meet comers.

this

challenge, all

'y^tM^

/--^.e^-^c-*-^

1

he mysterious, almost hypnotic start* the tiger is foixefully expressed here.

c)l

nth real meaning illustrations here and see how the aruse animals as emotional symbols to create a >ponse in the viewer Notice, too, how clearly sse artists express the personality or feelings the animal itself. Don't merely catalog factual

Study the

ts

—

when you draw and paint animals you respond to them emotionally and commu:ate their emotions to the viewer to bring your tails

jst

imals to

life.

VChen man matches his skill and muscle against a bucking bronco, the action is swift and dramatic.

^Skmrm^^

Practice Project Pumas,

hears, bulls,

lions— ihey

are

all

.

mem-

animals. Bui in bers ot the anw.ing family of all have basic they differences, their spite of similarities

of structure that

them

make

easier to draw.

..--1

^ Y.:'

J Have fun with this assortment, and then refer to the

V'

iX

Instructor Overlay, pages 105 and 106, for helpful

/

suggestions and

^O

interpretations.

sV.^^I

('

V

.^

A

Av

^\^

n\ '^i

.T

86

r

87

Section 8

The Bird The bird, with its feathery coat and gift offlight, seems a far different creature from man. Yet it has many of the same parts that he does. lake the wings, for example. In their bony structure they are quite similar to our arms. If you put your hand to your upper chest and bend your wrist down, as in the figure on the facing page, the bones in \our arm will actually be in the same position as the bones in the folded wing. Or try holding your arms out, as in the winged figure at the left. You can easily see how your arm bones correspond to the bones of the wing. Like a man's legs, the legs of a bird have a "hip," "knee," and "heel." However, the bird is closer to most of the four-footed animals in its posture: it stands on its t(X^s with its heel up from the ground. Carefully ex:imine the bird's skeleton on the next page and you will see where the wing joins at the shoulder and where the leg joins at the hip. This latter point is difficult to observe on the living bird because the feathers cover the upper leg from hip to knee, so that the leg appears to start at the knee.

© The Curtis Publishing Co.

HAROLD VON SCHMIDT

Shoulder I

^^^feSju^^ The bones

in a

wing

correspond closely to those in a man's arm

88

y^ *^

Elbow

"Elbow"

Hip",

•Heer

Understanding the structure of a bird Man and bird are surprisingly alike The which

in their skeletal stmcture.

bird has a large breastbone, shaped its

well-developed

Leg joins here

flight

somewhat

like the keel

of a boat, to

muscles are attached.

.1

^\

1

/i Tail

here

Body

xnrm/i^T^ is

tapered cylinder

Thumb In profile, the basic shape of a

The

standing bird

"thumb."

is

like this.

How to draw a bird

. . .

bird's foot

has four "fingers" and a

step by step

Different species vary in their proportions, but you can still use basic forms to draw birds. These forms can be changed and adapted to fit whatever type of bird you draw. First sketch the general position and shape, then build the simple basic forms.

89

TThe

bird inflight

The basic flying action for all birds is the same. The wing moves forward and down, then back and up, the way your arm dcx;s when you swim the crawl stroke. VC'ith its feathers closed, the wing "bites" into the air just xs your hand dc^es in the water when the fingers are closed. At the end of your stroke you turn your hand and raise it through the water to minimize resistance. The at the end of the stroke it lifts the wing and sepat5ird does a similar thing rates and turns the feathers, allowing the air to slip through. The bird gains its lift or flight-sustaining force by creating a vacuum over the top of the wing, causing the air pressure below to thrust it upward. Although all birds fly in much the same way there are differences in the details of the movements. The tiny hummingbird, for example, beats its wings as rapidly as two hundred times a second, while the long-winged pelican beats them only one or two times a second.

—

In fight the legs extend straight back. sition except

when brought

The

tail is

in a relaxed, horizontal po-

into use to help control the direction of flight.

The broken line follows

the tip of

the wing.

Downbeat. The propelling

The wing sweeps forward and down. is supplied by the end or "hand"

force

part of the wing.

At this point the thrust is

out,

down, and for-

ward.

-^ The

tail can change shape and be used to control direction, to slow the bird, or to help it go up or down. The tail can also be twisted for a turn or banking movement.

90

^>

Feather control.

Although the

tail is

also used,

the bird guides itself mostly with its wings as a swimmer guides himself with his arms. The primary feathers cut into the air like a propeller They can be turned to any pitch to suit the movement.

With the wings

in the

Wings

. . .

and ciction

design

The win^s of all birds have the same basic siaiciurc but they vary depending upon the needs and habits of ditlerent species. Soaring birds have wide wingspans and can glide for miles, taking advantage of air currents. Other birds fly shorter distances and must make sudden changes of direction to catch insecns or avoid danger .\s mentioned earlier, the hummingbird beats its tiny wings at an incredible speed.

Elbo\\

"^

Primary feathers ("hand" wing)

Secondary feathers ("arm" wing)

Bottom surface of wing:

Top surface of wing: Note direction of overlap

Note reverse overlap of

feathers.

can make quick getaway with action of "hand" wing and rapid wingbeats. Grouse and pheasant are birds of

Soaring bird has a long "arm" for lift, and a slow wingbeat typical of such birds as the eagle, gull, albatross, etc.

Fast, short flyer

—

this kind.

How a bird folds its wings The wing

is

moved back and up

at

feathers.

the

of the action. Each outer section fits under the next section going toward the body.

start

92

How to draw birds inflight same basic head and body shapes as for the standing bird, on we add a wing comp(.)sed ot a rectangle and a triangle. These bashapes, changed slightly, can indicate many different positions of flight.

iJsin^ the

each side sic

The proportions

will vary

with the type of bird.

Basic shapes of the flying bird "Arm" wing is

Body

is

a\

c;0

/

—

tapered cylinder ^

a rectangle

Practice Project Birds seem very different from animals and people, but as yuu can see on pages 88 and 89, there are remarkable similarities that will help you depict them convincingly. As you draw birds, use the simple, basic forms, but always keep in mind the gesture that gives life and movement. By thinking of the way your arms work, you can sease the way a bird moves its wings. After

you complete the drawings below,

move the

Instructor Overlay page 107, for

parison and helpful suggestions.

^.

94

\

re-

com-

95

Transfer with Tracing Pap

Think with Tracing Paper The beauty of usiti^ tracing f)aj)er is that ii allows you to first make a preliminary trial drawing; then, because it's transparent, you can slip it under a clean sheet and proceed to correct and adjust as you redo

It's easy to transfer the outlines of a drawing onto another surface. First. la\ a sheet of tracing paper over the picture you wish to duplicate and, with a medium

the drawing. You can repeat this as

steps below.

many

times as

it

takes.

soft pencil, trace the

Be

howe\er, that \\)u dot it just mindlessly trace. Make each successive drawing an improvement, and strive for spontaneity in e\cry new version. sure,

NeiV sheet:

1

Refining your drawing:

^ further adjustments, place over

it

Preparing the back:

Fasten a sheet of tracing paper over your

do a new drawing, using your previous one guide and making the necessary improvements. sketch and

if

and continue developing

it

A

as a

outlines.

Then

follow the

a soft pencil

M/ ^

of tracing paper

Turn your tracing over and

blacken the paper right over the back of your traced lines

with

your drawing needs

a clean sheet

main

your original drawing was done on tracing paper, as described to the left, just turn it over, blacken the back of the outlines, and trace it down. This method gives you a clean surface on which to work, free from erasures and smears. If

Transferring: Tape

to the surface

the top corners of your tracing on-

on which you plan

to

draw or paint

>Xith a

sharp pencil trace over the outlines and they will be

to the degree of finish

transferred to your drawing surface.

you wish.

96

.

Section 9

'Bracing Papers. 11

. .

thefollowing pages include these items:

iHStmCtOT OverUiyS.

Schcx)l

These demonstrations show how iastruciors at Famous Artists completed the Pnictice Projeets Remove them to compare with your own project drawings.

5 Blank sheets of tracing paper. and popular type of

paptT. Similar paper

FREE ART LESSON, of the bcx)k. Complete Artists School.

Note:

Slip a sheet

it

This

and mail

is it

is

These

will give

you

a

chance

to try out this useful

readily available at stores selling art supplies.

the most important project of all. Youll find it at the end from the iastruction staff of Famous

to get a free evaluation

of white paper under

this

page for easy reading.

Instructor Overlay.

.

.gesture drawings.

For Practice Project on page 24.

/AJ

BerwEEN

Smcow

kj'ffk

iujii/^

fUM^

/^nl

i'*:/"

w

ir j.

•;

t

/^c".

,
,

.loofiji i.^iy. cuiufiu.!

-^lij

lo

Instructor Overlay.

.

.

birds.

For Practice Project on pages 94 and 95.

3^1 o0^

Si>y^H/a/X,

white paper under this overlay for easy viewing. You can remove it for comparison with your Praaice Projea. You'U find these suggestions from an Instructor of the Famous Artists School most helpful. Slip a sheet of

107

nl ?v

^tJ.

t^

Oil.

s^^i^^ '^?" ^

S- t«.\>V'

i\1«R:

X>.y^^

^

\M>iv :j\sVs

•,.,

.]brl JBo••

• All

composed

pictures are

shapes

Objects

in

of

1';//a/M

if

a picture

are called positive shapes The remaining areas are negative shapes Indicate the total num-

ber of separate shapes, both

and negative, that you the design at right

positive

see

in

B

example there

In this

are two shapes

Obsenation

.

one two three

and part learned

part natural

.

.

•

On

four five six

a bright, sunny day the color of green leaves on a tree looks

yellow-green in sunlight and blue-green the shadows b) blue-green in sunlight and yellow-green the shadows c) the same in sunlight and shadow a)

Which

triangle

appears closest

to

you?

in

in

>^

Half close your eyes as you look at these four panels. While squinting, which one appears to be the darkest?

Lighting. •

,

shadow

pattern reveals form

Diagram A shows the way the shadows would look if there was onfe light source as shown. Using a pencil or pen, shade in how the shadows would fall on Box B with the same light.

Using an ordinary soft pencil, complete this outline drawing of a dog by drawing in the shading to give it solid form. Notice in the drawing above how the strong, simple lighting creates a contrasting pattern, separating light

^ms Special Lesson was created by Famous Artists SchooL whose unique homi study programs have enjoyed a reputation of professional excellence for over thirty-five years. When yt)u have completed the Lesson, fill in the information on the reverse side, fold as indicated, and mail to us. We will be glad to send you your personal evaluation and helpful suggestions without obligation.

and shaded areas.

TRU

it

School has developed Ji to Famous Schools On evaluate your drawing an

rofessional instructors will personally to you with helpful suggestions This

it

is

-•

I

d there

absolute!

hidden talents— don

i

SEE INSIDE FOR

study instruction

IS

no obligation Explore your

fecial opportunity

n

CITING FREE

Y

OFFER

This book introduces you to an exciting to animal drawing. It was especially created by a group of America's most eminent artists who have demonstrated the methods they have used in their distinguished

approach

careers.

You, too, will find that animal drawing is one of the areas of art that can bring you much fun and excitement. Not only will you gain rich satisfaction from drawing or painting, but you'll discover that people admire creative talent and you'll experience the pride

—

achievement that comes from developing a valuable skill that most of

others lack. Also, if you have sufficient desire and dedication, your talent in drawing could even lead you into an exciting and challenging career as a professional artist. But, whether or not you have the ambition to be a professional, you'll find that art will be a

wonderfully satisfying pursuit. In this book you'll find fresh approaches to the following features:

• •

•

• • •

•

CAPTURING SPIRIT AND MOTION DRAWING MATERIALS AND TECHNIQUES FOUR BASIC ANIMAL GROUPS CONSTRUCTING THE HEAD BASIC FORMS OF THE BODY THE HORSE IN MOTION

DOGS AND CATS— STEP-BY-STEP BASIC FORMS OF UNUSUAL ANIMALS BIRDS AT REST AND IN FLIGHT And

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